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Marjorie Taylor Greene Is So Very Angry About Her Anti-Trans Sign Being Vandalized: ‘This Is Criminal Activity’

Last year, Marjorie Taylor Greene shocked her fellow House colleagues by posting an anti-trans sign outside of her office that was directly aimed at Congressman Marie Newman, who has a trans-child. It was a surprisingly brazen move even for Greene, but the issue fell to the wayside as the off-the-wall Georgia representative bounced from one controversy to another, much to the chagrin of her own party.

However, Greene’s anti-trans sign is back in the headlines, and this time (according to Raw Story), it’s because it’s been repeatedly vandalized and stolen. In a new video posted to her Telegram account (Greene has been permanently banned from Twitter for posting COVID misinformation), the congresswoman calls the defacement “criminal activity” as she accuses workers in the building of defacing the sign, which reads “There are TWO genders: MALE & FEMALE … Trust The Science!” According to Greene, she’s had to replace it six times.

Via Raw Story:

“This is criminal activity,” Greene said. “It’s vandalism, destruction of property, so when the person gets caught they’re going to be held accountable. But here’s the scary thing — they work in our building!”

Greene went on to say that she has repeatedly asked Capitol police and the House sergeant of arms to place security cameras outside her office “so that I can feel safe.”

“Because if someone is this crazy, so crazy and deranged over a sign that says there are only two genders, male and female, and they keep attacking it … then obviously they may try to attack me personally.”

In a self-own worthy of Ted Cruz, Greene revealed that the sergeant at arms didn’t think the situation required additional security. Naturally, Greene accused Nancy Pelosi of being behind the decision before going on a rant about how Democrats are “destroying our country” with their rampant sign vandalism.

(Via Raw Story)

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Rockstar Confirms A New ‘Grand Theft Auto’ Game Is In Development

The Grand Theft Auto IP is arguably the most valuable name in all of video games. The most recent game, Grand Theft Auto V, is the most profitable piece of media ever. This has largely been thanks to the success of GTA Online, but that doesn’t change how much people adore the GTA franchise.

The success of GTA V and GTA Online hasn’t stopped fans from asking about the next installment in the franchise. GTA V was released back in 2013 for the Xbox 360 and PlayStation 3. The franchise is due a new entry and there have been rumors for years that a follow-up was in the works. Those rumors were finally confirmed on Friday when Rockstar announced that a new Grand Theft Auto game was indeed in the works.

This is exciting news for fans of the GTA franchise and it sounds like Rockstar has finally found a direction for the next game in the series. Of course, a game entering development does not mean it will finish development any time soon — we have no idea when the new game is going to be anywhere close to done, and until a release date is announced, the only thing we can do is just be happy knowing a new game is on the way.

For anyone who worried that a new game being announced meant that support for GTA Online was no longer going to be a priority, they can put those fears to rest. Alongside the announcement that a new GTA is in development, Rockstar also gave an official release date for when GTA Online will make its way to the PlayStation 5 and Xbox Series X/S.

This makes sense, because a long as GTA Online keeps making money, there is no reason for Rockstar to stop supporting it.

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A Reminder That Guillermo del Toro’s Newly Streamable ‘Nightmare Alley’ Deserves Your Attention

The Oscars race is slowly unfolding, with the seeming frontrunners being many of the films that we expected to be here. In a year of immense flux in the entertainment industry, one chock full of fascinating, challenging, and often difficult movies, it’s sadly no surprise that the apparent winners-to-be are cut from the same cloth of victors’ past. (Expect lots of biopics and further exhausting discourse around Don’t Look Up.) Yet awards season isn’t always as predictable as we think it will be. To quote William Goldman, nobody knows anything, and at the end of the cycle, there are always a few movies we were certain would win big yet were left by the wayside as the season progressed. Consider Nightmare Alley (which recently came available to stream on Hulu and HBO Max).

Having taken home Best Director and Best Picture for his previous film, The Shape of Water, Guillermo del Toro was positioned as an inevitable frontrunner for 2022 long before anyone ever saw a still from his latest project. It hardly mattered that the material was a dramatic step away from del Toro’s usual fare of sci-fi and fantasy riffs, or that it was a remake of a Tyrone Power film from the ‘50s. If any director had earned the right to take that risk, it was the guy who won the biggest prize in cinema with a story wherein a woman has sex with a hot fish-man.

The story centers on Stanton Carlisle (Bradley Cooper), an ambitious worker at a rundown traveling carnival who dreams of the big time. Borrowing the cold-reading skills of the carny’s mind-reader (Toni Collette), Stan comes up with a scheme to present himself as a spiritualist preacher who cons rich people out of their money via séance sessions with the help of his “medium” (Rooney Mara.) To move the grift into the big leagues, he then teams up with a devious psychologist (Cate Blanchett) to target a skeptical auto tycoon. It doesn’t take long for Stan to get in over his head.

Based on the novel by William Lindsay, Nightmare Alley seems like standard del Toro stuff on the surface: there’s a carnival and paranormal-esque elements and Ron Perlman is right there. Yet it was a much darker slice of humanity than del Toro’s most iconic work.

One of del Toro’s defining features as a filmmaker is his wholehearted earnestness. He loves fairytales and gothic romances and classic horror, none of which he utilizes with anything remotely resembling cynicism. Even at his darkest, such as his masterpiece Pan’s Labyrinth, he sees light at the end of the tunnel. Nobody finds greater beauty in the beastly than del Toro, whether it’s the ivory glow of the vampire in Cronos, the rom-com sweetness of Liz and Hellboy in Hellboy 2: The Golden Army, or the clay-stained snow surrounding the mansion of Crimson Peak. There may be monsters but often they’re kinder and more graceful than the humans. No matter how bad things are, there are shimmers of goodness throughout del Toro’s worlds.

This precedent is what makes del Toro’s choice to adapt Nightmare Alley so intriguing. There isn’t even the slightest glimmer of goodness in Gresham’s book, a pitch-black noir proudly mired in sleaze. Almost every single character is a narcissistic charlatan concerned solely with the accumulation of wealth. These are brutal, desperate, calculating people, each and every one of whom would make for an excellent villain in any other film noir. del Toro has created his fair share of irredeemable baddies (consider Michael Shannon in The Shape of Water, a macho soldier wholly committed to brutality), but they’re typically balanced out by heroes with good intentions or a scrappy resolve to do the right thing. Nightmare Alley has no such desires.

That’s something del Toro commits hard to in his adaptation. Cooper is an actor who is at his most interesting when he uses his traditional leading man charm to delve into self-obsessed smarm, and as Stanton Carlisle, he fully descends into the narcissism of the skillful huckster. The audience understands his appeal but cannot help but root for his downfall as he ignores all the warning signs in favor of exploiting riskier targets with bigger paydays. Cate Blanchett plays a femme fatale straight out of a Barbara Stanwyck noir, the kind of woman who everyone knows is dangerous yet won’t stay away from. Aside from the kind-hearted, if somewhat naïve, Molly, every character in Nightmare Alley is self-absorbed, manipulative, or just plain mean. The vast ensemble is focused on money or sex or booze and how to acquire them, and it’s all described with the same blunt tones of perversity. Everyone is fair game for exploitation, be it the gormless audiences of the carnival or the gullible society darlings who throw down big bucks for a blatantly false séance. People seek salvation but Gresham practically guffaws at such naivety. Humanity doesn’t deserve it in his eyes.

del Toro (along with co-screenwriter Kim Morgan) doesn’t shy away from the gloominess of the novel either. The second half of the movie is essentially a slow spiral into the worst recesses of human cruelty and failure. You know, as a viewer, that there will be no solace here, no last-minute reprieve or moment of penance from our horrid protagonist. It’s, to put it mildly, a total bummer. The Pulitzer Prize-winning book critic Michael Dirda described Nightmare Alley as “a creepy, all-too-harrowing masterpiece,” one that left him feeling “utterly flattened.” del Toro nails that effect.

Audiences didn’t clamor to the cinema to see Nightmare Alley. Released in theaters as Spider-Man: No Way Home swung into record-breaking territory as the omicron variant of COVID reared its ugly head, the film only grossed $2.8 million during its opening weekend, finishing fifth at the box office. Reviews were widely positive, though, and it’s received a few critics’ circle awards for its troubles. Mostly, however, there’s been this curious, and unfair cloud of failure surrounding Nightmare Alley. It’s not playing well with the major awards bodies, especially when compared to the likes of The Power of the Dog, Belfast, and West Side Story. Even perennial nominee Bradley Cooper isn’t making waves in the Best Actor conversation. The competition this year is vast, more so than last year, and it seems that there’s just more hype and general warmth towards other movies. Nightmare Alley’s fans are there but the notoriously middlebrow tastes of the Academy may not feel so enthusiastic about a gloomy and cynical noir with a moral about the inherent cruelty of humanity.

Nightmare Alley, however, may get a second chance at a legacy beyond those box office numbers and dashed awards season hopes and dreams. There’s the select release of a special black-and-white version of the film across Los Angeles that will surely stand as one last effort to court awards season voters (and something that makes a lot of aesthetic sense for the old-school noir). But there’s also the release on Hulu and HBO Max, presenting an opportunity for a lot more people to find this film and connect with its approach. Cult status isn’t usually sought, but it’s nothing to turn one’s head at, especially when it’s the last stab at relevancy for something that fully deserves a chance to be remembered.

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Jarred Vanderbilt Does It All For The Timberwolves Defense

Jarred Vanderbilt is a defensive chameleon. That label doesn’t arise solely by the conventional thought of him guarding a range of assignments, a la Ben Simmons, but more so by the notion he will undertake virtually any responsibility asked of him.

This season, Vanderbilt’s matchup catalog stretches from Stephen Curry to Giannis Antetokounmpo, so the Minnesota Timberwolves evidently value his versatility at the point of attack. During a December game against the Dallas Mavericks, he went from defending 7-foot center Kristaps Porzingis on one possession before taking 6’1 point guard Jalen Brunson on the next. But he’s not a one-hit wonder, and Minnesota’s coaching staff realizes it.

Excelling as a frenetic on-ball stopper, weak-side rim protector, perimeter helper, and custodian on the glass, intentional chaos is integral to his game. Vanderbilt is one of the league’s best defenders. Nobody channels their motor into tangible impact better than him. The shortlist of 2021-22 All-Defensive Team candidates should undoubtedly include him.

Under head coach Chris Finch, the Timberwolves employ an aggressive pick-and-roll coverage predicated on trapping or showing with the primary big man, most often Karl-Anthony Towns. That represents a shift from the traditional drop defense he overwhelmingly played previously in his career.

Vanderbilt’s functionality as a back-line roamer helps enable success via that scheme. Even if Towns, with his swirling limbs and domineering frame, can’t fluster ball-handlers, Vanderbilt looms large, ready to patch up any holes.

His off-ball talents span well beyond low man duties, though. He can play the nail to bother drivers, excels at denying or pilfering passes and blanketing cutters, and embraces battles against bigger opponents. Mindless decisions from the offense send up a flare for him to pounce. Execution must be crisp when he’s in the vicinity.

The haste with which he covers ground on rotations looks like he’s moving at warp speed while everyone else’s transmission is stuck in neutral. His lateral quickness belies his 6’9 stature, and augments his swift hands and turbo-charged playmaking.

Just note all the varying off-ball jobs on his resume. Many players can specialize in a few areas off the ball. Vanderbilt seems comfortable with nearly all of the prominent ones that routinely factor into possessions.

According to Cleaning The Glass, his 2.6 percent steal rate ranks in the 96th percentile among bigs, a season after his 2.3 percent steal rate placed him in the 97th percentile. Put simply, few front-court players generate takeaways like him.

When the situation demands, he’s similarly adept at setting the tone on the ball. Sometimes, Minnesota even tabs him as the primary big man in ball-screen schemes, whether it’s switching, showing or trapping, if Towns is having a down night defending the pick-and-roll. He’s the Timberwolves’ handyman, and he’s earned an immense amount of trust from Finch.

He’ll pester star scorers to the point of defeat on a possession, ensuring they’re aware of his 7’1 wingspan and all its powers. Bumps and bruises as they maneuver are part of enduring the Jarred Vanderbilt Experience. Brief exhaustion causing a minor slip-up for him to expose is an intended byproduct of his approach.

He’s an unrelenting nuisance, one who’s long and skilled with an array of lively athletic tools. Hellish feels like an apt word to describe facing him.

Vanderbilt’s footprint also shifts outside of any defensive construct. Many players throughout NBA history have proven that playing really freakin’ hard all the time is a skill, and he’s the gold standard for it today. He generates countless possessions by simply refusing to concede that it’s time to switch ends. If you’re watching Minnesota, think the opposing team has secured control of the ball, and look up to see otherwise, the answer to “how did the Wolves get the ball back?” is Vanderbilt more often than not.

Calling him an energy guy undersells his game, but ignoring that facet also paints an incomplete image. Energy is legitimately a component of how he sparks events and points. There’s not a single other player who authors the plays below like him on a nightly basis.

Despite being a 6’9 forward with little on-ball creation zest and just three career triples to his name, Vanderbilt offers steady offensive contributions. Various teams will opt to put their 4-man on Towns and let the center/best rim protector sag off Vanderbilt as a free safety helper.

To counter that and not impede the offense, he’ll hunt out screen-setting chances and swiftly flow into dribble handoffs when the ball comes his way. He’s also a marvelous cutter from all over the court, a savvy connective passer, and dynamite offensive rebounder with a knack for shrewdly high-pointing and tracking boards.

Minnesota has a 115.9 offensive rating when Vanderbilt is on the floor. While he likely benefits a good deal by predominantly playing alongside Towns, he really does understand how to thrive in spite of his limitations. Plus, their relationship is symbiotic because he pilots and simplifies the defense for his All-Star teammate, which is a significant part of why they share the floor so much.

He’s a crafty, patient finisher shooting 69 percent at the rim and rarely hampers Towns, D’Angelo Russell, and Anthony Edwards’ creation efforts. He keenly slips screens to dive into a vacated paint and has the requisite body control to contort for buckets. If there’s space to inhabit that can aid his team, no matter how minute, he will identify and utilize it. On both ends, he flourishes in busy spaces, a rarity for many 6’9 bigs.

Vanderbilt ranks third in Defensive Estimated Plus-Minus (plus-3.4) and 30th overall in Estimated Plus-Minus (also, plus-3.4). He’s not an All-Star-caliber guy, but those numbers shouldn’t be disregarded. The majority of plays involving him feel impactful, and he is constantly searching for a way to make something transpire for his team. A team making a playoff push deservedly starts him because he is quite good.

He’s an elite defender who dons whatever cap is required in a given game, lineup, or possession. His offensive utility is much narrower, but he plays exceptionally well off of Minnesota’s hubs. Everything he provides helps shape its identity.

Vanderbilt may not be captaining the Timberwolves toward the playoffs. Yet he’ll absolutely etch his mark there this spring, adapting to whatever defensive role they lay out for him.

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Kanye West Claims Kim Kardashian Let North Use TikTok Against His Will

Kanye West has apparently taken issue with his daughter’s app usage, judging from a recent post he shared on Instagram. Posting a screenshot from the @KimAndNorth TikTok shared by his ex-wife Kim Kardashian their daughter North, Kanye wondered, “Since this is my first divorce I need to know what I should do about my daughter being put on [TikTok] against my will?”

This is only Kanye’s latest incident of conflict with his ex, who he also recently claimed tried to bar him from North’s recent birthday party. This was, of course, after Kanye had threatened to beat up Kim’s new beau, Pete Davidson, but let’s face it: self-reflection has never been Kanye’s strong suit.

In a previous interview, he also railed against North’s TikTok use, saying, “Tell her don’t have my daughter wearing lipstick on TikTok and don’t have her on TikTok at all if I don’t approve that.” While he says this is a case of “poking the bear” in order to discredit him, he’s kinda done that all on his own with stunts like his aborted, slapdashed political campaign (which was probably a smokescreen for the Republican candidate who tried to start an insurrection to overthrow the government).

It seems that even at his big age, Ye has yet to grasp the concept of women’s autonomy. If he hates what North is doing now, just wait ’til she’s a teenager.

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Dua Lipa Turns The Tables On Stephen Colbert By Asking Him A Deep Personal Question On ‘The Late Show’

Dua Lipa is one of the busiest people in music at the moment. She just launched her “Service95” newsletter, she’s in cahoots with Puma, she’s been recording new music, and she’s going on tour this year. On top of all that, Lipa was a guest on The Late Show last night, sitting down for a lengthy interview with Stephen Colbert, during which she got to flex her own interviewing skills.

Colbert closed out the chat by mentioning Lipa’s upcoming podcast Dua Lipa: At Your Service, which drove the conversation towards the art of conversation and interviewing itself. After Lipa noted that she’s been enjoying interviewing people for the podcast and the research that’s involved in that process, Colbert asked Lipa if she had a question for him. After taking a minute to think about it, Lipa said, “I think something that your viewers really connect with in your comedy and your hosting skills, especially in the past few years, is how open and honest and authentic you are about the role your faith plays in your life. I was wondering, does your faith and your comedy ever overlap and does one ever win out?”

The evidence that this was a strong question is the fact it took Colbert nearly two minutes to answer it. He began, “I think ultimately, all being mortal, the faith will win out at the end, but I certainly hope when I get to Heaven, Jesus has a sense of humor.” From there, he continued to discuss the reasons he liked the movie Belfast and how it relates to the relationship between faith and comedy, love and sacrifice, and death and defeat.

They also talked about releasing an album during a pandemic, working with Elton John, and more, so find clips from the interview above and below.

Dua Lipa is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Jimmy Kimmel Lays Out The Reasons Why Seeing Rudy Giuliani Do ‘The Masked Singer’ Isn’t Too Surprising

What a week. We received the revelation that Borat 2 star Rudy Giuliani, who’s been shunned by the legal community and much of the world after pushing the Big Lie, took a gig on The Masked Singer. Judges Ken Jeong and Robin Thicke were so upset that they stormed offstage, according to Deadline, which also noted that the Season 7 taping will head to air in March. So, we have to wait too long to find out Rudy’s costume, but he will never surpass Sarah Palin dressed as a bear and rapping, “Baby Got Back.”

The harsh daylight saw TV news hosts struggling to believe what they’d heard, and of course, The Daily Show unveiled some “leaked” footage, but Jimmy Kimmel laid out the reasons why he’s not surprised. In short, we all should have seen this coming, even if Rudy may not have realized where he was:

“Why would Rudy even agree to do this? Did he think he was going to ‘The Masked Singer Landscaping Company?’ Only Rudy Giuliani would try to overthrow their government, break wind loudly in court, have another one next to a dildo store – and then try to rehabilitate his image by singing ‘Shake Your Groove Thing’ dressed as a pineapple.”

Kimmel did, however, have harsh words for Fox for not even questioning the bad look here. “A lot of people at Fox had to sign off on this,” the late-night host declared. “Not one of them was like, ‘Hey, maybe we shouldn’t have the guy who is under investigation for helping to plot an insurrection signing on our show?’” And maybe that’s why the Fox News people have stayed largely quiet on the subject. Awkward!

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Lindsay Lohan Has Traded ‘DUIs For DYI’ In Her Super Bowl Commercial For Planet Fitness

A 30-second spot during Super Bowl LVI between the Cincinnati Bengals and Los Angeles Rams is going for as much as $6.5 to $7 million. How much is that in bitcoin? Lindsay Lohan, the Mean Girls actress who has pivoted towards cryptocurrency (and pissing off the Furries), appears in the Super Bowl spot for Planet Fitness, along with William Shatner, Dennis Rodman, Buzzy Cohen, and Danny Trejo.

“People are wondering, what’s gotten into Lindsay?” the commercial asks while Lohan works out. She’s killing it on Jeopardy! (featuring a generic voice as the host); she’s making the paparazzi cry by sleeping better than ever; and she’s traded “DUIs for DIYs,” which has to be the first DUI joke in Super Bowl ad history. “Maybe it’s not what’s gotten into Lindsay,” Shatner says with Kirk-like wisdom, “it’s what Lindsay’s gotten into.”

Besides hitting the elliptical, Lohan has also gotten into Netflix’s Christmas empire. The streamer’s 2022 preview includes a peek at Falling for Christmas, which follows “a spoiled hotel heiress who gets total amnesia in a skiing accident and finds herself in the care of a handsome lodge owner.” I would pay $6.5 to $7 million to watch it right now.

For more Super Bowl LVI commercials, including Gwyneth Paltrow tasting her own vagina (candle), click here.

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Don Jr. Unloaded On Trump Cheerleader Lindsey Graham For Being A ‘Weak’ RINO With A ‘Good Personality’

During Donald Trump‘s time in office, Lindsey Graham was routinely mocked for his blatant sucking up to the former president particularly in light of the fact that Graham’s longtime best friend, the late Senator John McCain, was not a fan of Trump, to put it mildly. So it’s fascinating to see MAGA world turn on Graham on a dime in recent weeks. This time around, Donald Trump Jr. went on Newsmax and blasted Graham for saying that January 6 rioters shouldn’t be pardoned after the elder Trump promised to do so if reelected. Don Jr. went so far as to call Graham “weak,” but he still likes the guy, whatever that’s worth.

Via Raw Story:

“I think my father hit it right,” Trump Jr. said. “I like Lindsey, I think he’s a funny guy, he’s got a good personality, but in the Senate, he’s a RINO. I like him personally, but in terms of government, he’s going to roll over every time, and that’s unfortunate because we’ll be right on the issues, and so many Republicans — the weak, establishment Republicans – will roll over each and every time. I think we need to elect people that won’t do that. Unfortunately, the Senate is filled with a lot of Republicans that way.”

After all of Graham’s groveling to Trump, this is his reward. The former president’s son is calling the senator a soft wimp on TV directly on the heels of Steve Bannon accusing Graham of being a “traitor” who’s secretly working with Joe Biden. It’s like watching a mob movie play out in real time. “Never speak against the family, Lindsey…”

(Via Raw Story)

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Eminem And Dr. Dre Link Up On The ‘GTA Online’ Song ‘Gospel’

A couple months ago, some fresh Dr. Dre music popped up on GTA Online as part of a new story, “The Contract,” in which Dre himself was an actual in-game character. Snoop Dogg called it “great f*cking music” and now fans can more easily judge for themselves, as the tunes are available on streaming platforms starting today.

Among those is “Gospel,” a collaboration with Eminem. Both rappers come through with some standout lyrics, like when Dre appears to address his recent divorce settlement by saying, “Lookin’ for my next gold digger / This summer here gon’ be colder than winter.” Meanwhile, Eminem flexes some of his classic wordplay with lines like, “B*tch, I’m badder than cake mix,” and, “Yeah, and me and Dre are like dog hair / We’re both in our lab coats like retrievers.”

Aside from the Eminem collaboration, among the new Dre GTA songs is “Black Privilege”; “Diamond Mind” with Nipsey Hussle and Ty Dolla Sign; “ETA” with Snoop, Busta Rhymes, and Anderson .Paak; “The Scenic Route” with Rick Ross and .Paak; and “Fallin Up” with Thurz and Cocoa Sarai.

Listen to “Gospel” above and check out the other GTA Online songs below.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.